Feeling distinctive and contemporary in the wash of current nostalgia causes the explosive Gravity to pull you in various directions. Thankfully all of them are rewarding as smouldering vocals work their way over crunchy drums, rugged bass and slinky keys demonstrating a most soulful eloquence in abundance. The remix comes from August Artiér who injects the rhythm section with punctuating percussion and a smoother, deeper groove that cuts the ice with flair on another excellent production. Leaving second number, Out Of Time to roll out tougher drums and bass complimented by yearning voices and the energetic rush of crashing snares.
The luscious One More Love which begins this new release from Riigs & Skenna fills the air with space and timely emotion. Temptingly open to interpretation as unfolding waves of synthesized arpeggios roll over unhurried drums plus occasional splashes of breathy vocals all of which strongly hints at sun and shine in evocative manner. Ambro, feels brisker by contrast with keys imposing melody amid a heady whir of assorted sounds and swirls.
Release: June 18
Elisa Di Riccio is the keyboardist and producer operating under the guise of APOTEK and this fantastic new album plays testament to the abundance of talent and meaning to be found across the expanse of Unknown Territories. From the opening salvo of ethereal beauty espoused by the album’s title track through to the bluesy, melancholy of Dying Stars the moods and themes bent into shape via electronic maniltpuilation are as much about soul as anything else. The second single, Black Dolls still sounds stunning as does the shimmering pulse of the proceeding Runaways. And as the final strains of Fragile leaves you the combination of sight and sound, which all creates such an indelible impression, is something you will want to return too.
Release: June 17
You know the instant when something you hear strikes a chord with you, reflecting your emotions back at you. You also know the significance with which such music chimes with the experience of being human, whether it has been created through the use of electronics or actual instruments in shaping tone and texture. Goodparley’s new album is about both having the artist colarabate with his mother Cathy Richards who plays cello, electric violin and mandolin, which are in turn treated to a distortion of reality via treatments and sentiments across four extended pieces. Mist, Rain, Dust: Dissected Frequencies expresses a sense of wonder like it does introspection but never loses the thrill of excitement in doing so.
Welcome to Magazine Sixty, August. Let’s start with your early years growing up and which artists/ bands were most influential in shaping what you do now?
I grew up in Sydney Australia and from an early age I would fly regularly to Italy to visit family. As far back as I can remember I always loved listening to music. I would sit in the car when my parents were working and just listen to cassettes or radio all the time. As a kid I remember listening to artists like Culture Club, Public Enemy, Beastie Boys, Michael Jackson, Prince and more. At the age of about 13 I remember hearing for the first time Jungle and rave music back in the early 90’s. From that point onwards, I knew that is where I wanted to be. I was hungry to know more about underground and dance culture. Also spending a lot of time in Europe it introduced me to house and techno. So basically, underground music has been a way of life for me since my early years.
Your show on Ibiza Global Radio has been running for an impressive ten years now. What were the circumstances of how you got the show in the first place? What is the one consistent thing which you are most proud of running from back then to now?
My show with Ibiza Global sort of happened accidently really. At that time I was running a little label and the guys over at Ibiza Global were supporting the releases. I got introduced to Miguel Garji and things just went off from there. It’s not easy having a weekly show for over such a long period of time, but it’s great to support a lot of artists and music that on occasion you might not be able to play in a normal club or festival environment.
Your Indigo EP is the second vinyl release for Seve17een Records. What importance do you place on vinyl in 2021?
Yes, exciting times regarding vinyl. The EP is currently out now on my friend Dubphone’s label Seven17een. It has 2 great remixes, one by Giorgio Maulini and one by Dubphone. I grew up with vinyl and I have always been a vinyl artist. Nothing makes me feel better than spending my time in records stores around the world and coming home with new music. I love chatting with people at the stores and sharing recommendations to check out. It’s great that it is back in such a strong way so the younger artists have a chance to experience the whole vibe around it. I know that sales are not the way they used to be of course, times change. But to have kept a hold of that authenticity and uniqueness makes me very happy.
Can you name some of the oldest records in your collection (any style) that still inspire you?
This is a hard one to answer. Let me try.
DJ Ham Most Uplifting on Knite records, Jungle back from 1994
2. Callisto called the Nether World EP dates back to 1998 released by the great Chicago based label Guidance Recordings.
3. Masquerade’s – Set it off dates back to 1985 released by Streetwave records from London
4. Sextravaganza – Montobi Sex Tribe mix on Tribal America back from 1993
5. Paul Hardcastle 19 – 12” Extended version out on Chrysalis Records Ltd 1985
Tell us a little about your studio set-up? What are your go to pieces of software/ hardware you most like to use? And also, which are your favourite speakers to listen to music on?
As far as studio monitors go I am lucky to say that my partner Mick Wilson has lent me his Frontier monitors. These speakers are the result of a collaboration between Output Audio and Barefoot that has just recently come out on the market. Never have I heard such monitors in my life. My studio set up can be described as minimal I work only with UAD plugins and my Apollo Twin. I couldn’t imagine not having this set up.
Outside of music which artists, writers, painters etc mean the most to you?
I like Martha Cooper who has been behind the world of graffiti and street art since the 70’s. I also like the photos of Estevan Oriol too. I find his work is raw and his shots are great. I like Jean Michel Basquiat, a few years back I went to one of his art expositions and his work had a complete different impact seen in person.
You recently played your first gig again at Hostal La Torre. How did that feel after such a long time?
Well like any artist, after a long period away it felt incredible. Plus when you add the magic that a place like Hostal La Torre can bring, it’s like a cherry on top.
What changes would you hope to see post Covid-19 in club culture?
Respect for each other in a more peaceful environment and having a good time all united. I hope we will all remember what it feels like having lost elements of our freedom that maybe we all took for granted. I would also like to see clubs focusing more on the resident DJs. Their roll is so important. Their work gives the club its identity and character. So would be nice to see promoters invest more into this side of things.
Your remix with Mick Wilson (who you also co-release on RAWAX) of Do It Again on Do Not Sleep is fierce to say the least. Can you talk us through how the collaborative process works between you?
We’ve been doing a lot of work remotely, due to the fact that the COVID restrictions meant we couldn’t be in the studio together, however that doesn’t hold back our approach to the work. We both use UAD soundcards and plugins so in terms of in the box this area is covered, hardware, we employ Moog Matriarch which is hooked up to Erika Synths Black Sequencer, this is an amazing set up for sound design, The Moog SIRIN is great for some of those basslines and lead sounds that we like to use. Novation Peak adds to the pack as well as TB303 and various Roland Boutique bits. For sound sculpting we have the Korg Wavestate. We do a lot of external and internal processing on our sounds to create something unique. All which can be heard in both the remix and our other music.
Listening to your mixes I was wondering about your thoughts on vocals and songs in Dance Music today? And about the power of rhythm versus melody?
I believe they both have an important role. Depending on the situation or event the music is played in. I am more a rhythm type of person, however regardless of it being a vocal track or an instrumental the important thing we as DJs must do is share emotions and leave memories.
On a personal note. How would you describe your own philosophy when it comes to life and likewise on music?
I would say, be humble and respect others. This might seem very ABC but I think many people need to be reminded.
Learn from people who will give you their time to become a better version of yourself. On all aspects of life, whether it be career wise or life lessons. Eat healthy, exercise and never ever go a week without a pizza and beer.
And finally. What are you looking forward to most over this summer?
Just going back to living a normal life. Playing music at my wonderful residencies between Ushuaia Tower and La Torre.
Starting to see about some club and festival events even though it’s still early doors. I’m also looking forward to a little project that’s about to give way here in Ibiza. Can’t really say too much yet, but it will be a community for local artists and all music related people.
Beautifully realised, crushing, poignant, engaging music that satisfies and tempts all in one roll. Field Kit is led by violinist and composer Hannah von Hübbenet, who has collaborated with Berlin based pianist and producer John Guertler and the results are thoroughly engaging. I love the rich source that draws upon fizzy electronics and how they illuminate more traditional forms of playing music, feeling almost unnerving and yet soulfully reassuring. As the sounds unfold so does the imagination while atmospheres are explored, depths reached for. One moment a lone voice makes a welcome appearance on DON’T, while the next has the opening Distant Approach rekindling a darker impression taking your breath away. The result is an expansive range of music probing at the cross-section between classical and experimental, electronic impulse and organic textures, leaving Field Kit to have their presence powerfully felt on Alex Stolze’s wonderful imprint, Nonostar Records.
Time passed by so quickly I missed reviewing Carl M Knott’s most wonderful fourth album before its release date. Which in reality doesn’t really matter as music of importance should cause the same effect at any given time or date. From the serene impulse of Electric Sky to the twist of Fucked Jazz Melody this once again demonstrates a natural prowess when it comes to pulling together sounds and moods, then engaging with them in deeper ways. I particularity like the blissful escape found in tracks like Oz and Rainbow Silk which all seems to point towards lost and found memory, or maybe that’s just me. Either way the music generates experiences to be realised and cherished across its entirety.
Originally recorded in 1970 but not released until six years later this is the sound of history and emotion coming to life. You can hear the hints of melancholy longing in amongst the joyous blasts and twists as horn punctuate and drums sizzle with José Mauro’s guitar strumming to the rhythm of it all charged, resplendent with feeling. You can hear the wealth of talent as the impressive array of musicians accompany the singer (notably his songwriting partner Ana Maria Bahiana) and it’s also that impact of melody and open tuning which strikes at the heart of it all. This new release comes with some additional tracks and it’s interesting to hear the rich range of influences informing the composition of the music from far and wide (you can almost hear the echo of Nick Drake at times), though all the while feeling uniquely, essentailly Brazilian.
As the breeze of summer finally blows away the cold residue of an overlong winter so this perfectly timed compilation of reggae gems appears. If like me this also provides an excellent opportunity to get reacquainted with a host of these tunes then all the better. Some of this is just pure, celebratory bliss such as The Pioneers, Let Your Yeah Be Yeah while Harry J All Stars, Liquidator remains elementary and fierce. There are some 55 tracks spread out over two CD’s to indulge yourself with from Desmond Decker, The Maytals (54 46 That’s My Number) alongside the original version of Love Of The Common People by Nicky Thomas and inevitably Rerun Of Django by The Upsetters all singing and dancing like there was no tomorrow. Then there’s Double Barrel by Dave & Ansel Collins striking chords via a positive sting in the groove.
The second disc begins with 007, next is Long Shot Kick The Bucket, followed swiftly by Monkey Man seeing in an inescapable trilogy of classics in this house. However, The Best Of Reggae is quite a big title to fill and not everything chimes as the range of flavours on offer is quite varied, so once again its personal taste and perhaps what spoke to you growing up. Or to put it another way Train To Skaville by the Ethiopians reigns supreme, while you can’t go far wrong with Montego Bay and of course The Melodians, Rivers Of Babylon either.
Release: June 11
Luca Venezia aka Curses three chapter story linking the cause and effect between the riotous intersection of dangerous electronic and radical noise, from America all the way through to Europe and beyond, proves exceptional to the rules as if electricity got tripped-out, hot-wired in another direction. Like the altogether more unruly cousin of disco and its comparatively polite (MOR) aftermath these alternatives from the likes of Yello, A Split Second (whose Flesh still sounds pivotal), Front 242, In-D and Gina X appear rawer, more intensely human readily reflecting what was happening politically/ culturally in those times. Even the late night temptation of Trax Records’ Mystery Girl from 1987 brilliantly fits the bill and you can hear those exchange of ideas between the continents clear as day, all making up the first Classics CD.
Next is Chapter 2: Break A Sweat (Recent) highlighting the rich vein of influence cast by the artists on the first disc. The current day has produced a range of producers who sound just as good in the shape of Moderna & Theus Mago, Zombies In Miami, Paresse and Damon Jee & Darlyn Vlys amongst many significant others. Each echo the past but aren’t dictated to it by it employing a sense of freedom to explore and redefine.
The final CD compiles a series of exclusives as Maximum Heat including Curses own Discipline (listen below), the breathy sleaze of Amarcord – Spleen, Tronik Youth’s sizzling Spirit Dancer and Local Suicide & Skelesys outstanding Faster Faster. All of which joins up the dots between New Beat, Acid House, EBM, Post-Punk something or other and a whole host of various disciplines and exciting ideas which it almost feels aren’t heard as often as they should be. This release redresses the balance in explosive ways.